Reflecting on different statuses of observing. In the context of an open source project like CERN, where do the boundaries begin and end for this scientific setting and its team? How can the scene for a production of knowledge be portrayed and how did our interchanging role as Artist and Tourist at CERN affect this? Can we think of technology as an isolated product of genius engineering or does the exploitative rabbit in the magician’s hat (Hornborg, 2017) put a strain on the paradoxical entanglement of progress? How might we position ourselves concerning our own practice in art, science and everyday routine within a complex system of cultural contradictions? (Decter, 2013). All of which are stickily entangled in the artifact network and globalised industry (Hornborg, 2016).



Hornborg, Alf, ‘Machine and Machinations: rethinking the ontology of technology’, Depot, cooperation with Im_fl ieger, STOFFWECHSEL and the University of Applied Arts Vienna, 2017

Decter, Joshua, ‘Art is a Problem’, Selected Criticism, Essays, Interviews and Curatorial Projects, 1986-2012, published by JRP|Ringer, edited by John Miller, 2013.

Hornborg, Alf 'Global Magic: Technologies of Appropriation from Ancient Rome to Wall Street', published by Palgrave Macmillan US, 2016.